During the 100 degree heat wave of 1999, I visited my artist friend, Nancy Semas, in Manhattan. Together we carried our art equipment on foot and via the subway to find a painting spot in Central Park. Nancy was sensible and chose a shaded area for her oil painting, but to get the view I wanted it meant that I would have no shade. I wanted a view of the fountain with city buildings behind it, to define it as New York. The pigeon landing on my subject was an added bonus, as it is the official city bird or should be.

One of the advantages of painting in a crowded locale of non–plussed residents is that a painting artist on the street is not the oddity that it is back home in Douglas County. For the 5 hours or so that I painted, I only had 4 or 5 people actually stop to talk to me, of the hordes of people that passed me, so that meant that I had lengthy quality time to paint. I began to feel something like heat stroke, but I remember distinctly saying to myself, “I can’t quit. This is a good painting.” Once again, I blocked out the elements in order to capture my subject. I don’t recommended this level of insanity to anyone. I was wearing a hat and I finished drinking my 3 bottles of water. I think I bought a 4th bottle from the local push–cart vender. This vender would periodically stand behind me to see how my painting was progressing. He said nothing and I only peripherally realized that he was there. When I completed it, he gave me the thumbs up signal. This quiet encouragement was greatly appreciated.

My slide and painting were accepted into the Watercolor Society of Oregon, Spring 2000 Show. The guest juror was Carrie Burns Brown (no relation). The reception was held in the Giustina Gallery of the LaSells Stewart Center in Corvallis, Oregon. It was my fifteenth attempt to get into the WSO show over a 7 year period. Maybe someone else would be embarrassed to admit that it took so long to get into this show. However, I am proud of myself for not giving up after each rejection slip, as many artists do. Also, we know that each juror likes something different and it doesn’t necessarily mean that our pieces are not show worthy if they don’t get in. One of the reasons I persisted in getting into this show, is that all the paintings accepted get published in a show booklet. This shows people that I can make deadlines and how my work looks in print. I certainly hope to have more pieces published in future publications.

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